Hangar Gallery Booth, Scope Art Basel Miami 2013

Added on by katherine blackburne.
The Hanger Gallery booth at Scope takes shape

The Hanger Gallery booth at Scope takes shape

The Show opens at 5pm

The Show opens at 5pm

Double Katherine

Double Katherine

Scope on the beach at Ocean Drive and 10th

Scope on the beach at Ocean Drive and 10th

...and then my iphone did a funny thing while I was taking pictures of the Graham and Candance at the booth

...and then my iphone did a funny thing while I was taking pictures of the Graham and Candance at the booth

Art Partners Katherine Blackburne and Lena Viddo (Heliotrope Collective) 

Art Partners Katherine Blackburne and Lena Viddo (Heliotrope Collective) 


Added on by katherine blackburne.


         Hangar Artists Getting Attention at Scope 2013

                           Wynwood's Hangar Gallery Showing off New Work

            Masterful street artist Shepard Fairy and Entourage's Adrian Greiner rank among the collectors of some of the emerging artists coming to the 2013 Scope Art Fair. Lena Viddo, Katherine Blackburne  and Greg Auerbach are among 20 artists represented at Scope by The Hangar Gallery of Wynwood. The fair runs during Art Basel week  December 2nd through December 8th from 11-8pm on the beach near Ocean Drive and 9th Street in South Beach.

                  The Hangar will have more than 600 Square feet of art on display from international artists from Argentina, Australia, Venezuela, Israel, Spain, Russia, Brazil,U.K…etc, as well as the U.S. The show will present contemporary, modern and tech/mixed media art including stencil work, digital works using LED diodes, digital screens and cut out sculptures using Tyvek material among other mediums.

                  "We started The Hangar just two years ago and to already be included in the Scope Fair really speaks to the kind of emerging artists we are finding out there," says Hector Garcia-Rojas, founder, CEO and curator of the gallery.


Katherine Blackburne                   Juan Asnares                                          Pnina Yutman                                             

Greg Auerbach                                  Daniel Loizaga                                      Andres Risquez

Griselda Lechini                               Eliana Iturbe                                     Andres Risquez

Lena Viddo                                         Lee Downey                                     Pnina Yutman

Ernesto Kunde                                  Dodit Artawan                                     Natasha Kertes

Gina Martynova                                David Lavernia

Andrew Ringler                                               Claudio Castillo

Karla Caprali                                                    Presa Hall



For more information please contact

Hector Garcia –Rojas

Direct: 305-510-6800




Added on by katherine blackburne.

Everyone from tribal youngers to tribal grey feathers cast eyes down.

Look up look up look up look up

Look up from the ground in front of you look up from that persons knee look up from your fancy pants and your belly button and see the sweat dripping into each other's closed eyes.

Glimpse each other’s yearning for a better self.

You don't dance with personalities? just beside them, around them, within and without, lost inside of one.

Channel the ghost pummel the host

Gulp from the cup, just don't look up.

Squint, glance through pressed lashes open just far enough to catch.

My breath, and you disappearing around a corner, so fast. you're a master marksman and drafter of hearts after all it seems.

In stillness the proximity made the hairs on my neck stand on end gave my chest this jangling ringing as though the bell itself was tolling on the inside.

Ahh what would you do with your dying breath.


To your lyrical Question...

Added on by katherine blackburne.

...Yes these brand new beginnings do feel sanctified by my movement, and for a while thereafter even the mundane street wandering hunting and gathering for post dance dish and then washing -seem, somehow holy and i am most reverent.

The present moment reverberates and takes up more than its usual space. Must be all that square footage created in the chest cavity while pounding our feet on the backs and shoulders of ballerinas.

"And I don't mean here" she should have said. I don't mean here, on this floor I mean somewhere else less crowded. Less cluttered with souls.

Where you are not you

and I am not me   but we look like us. And feel like us. And we dance like us but with no one looking.

Did I say dance, I meant play.

in the slipstream of invisibility slip between the posts and out from under the gentle fingers of the well meaning handmaidens to the harbinger.

You'll be back before they notice the absence.


After the perfect Moment

Added on by katherine blackburne.

After the perfect moment. (Absence as presence)

Instead of trying to capture in paint (or photographically) the perfect moment, the moment that satisfies all aesthetic demands and perfect narrative construction, look for the moment that comes just after or just before the perfect moment.

Like for example when confronted with some action scene coupled with a visually stunning background (for example a performance or dance at burning man) the eye waits for the action to unfold, lies in wait for moment that will most accurately represent the scene before our eyes. I look for the piece to take with me either as memory or physical recorded data.

What if I strove to portray the moment just prior or after the ‘perfect moment’ in a subtle way, not so the painting just looked ‘all wrong’ but so that it looks as though something is waiting to happen. Or retrograde anticipation, something has just happened but now that moment has passed.

A cyclist rides through the frame and is cut off, the body has landed and is dusting itself off and walking out of frame, the focus is wrong, the image is blurred, a cloud covers the sun, a car drives in front of the spectacular sunset just as you press ‘click’, the car itself is almost out of frame.

You can still ‘feel’ the perfect moment lurking out there in time, but you are not experiencing it.

The real question here is what exactly makes those moments perfect? It is our personal history and experience that crafts and shapes our idea of perfect. As well as the common external history. That of actual events in the world and our perception of those events.

Our understanding of any given ‘event’ is really a collection of other people’s versions sewn together. Photos, passages of text, verbal accounts, other interpretive works of art all contribute to the bank of information relating to any given event.

Did it really happen if no one saw it?

From a different perspective my ‘perfect moment’ may appear altogether ghastly or ill formed.

From 40 degrees to the left my picturesque moment in time seems not to have arrived yet, from 180 degrees to the left it is all reversed, from 90 to the right it is distorted.

We begin to talk about the 3 dimensionality of space and the disruption of aesthetic perfection. Try to convey this disruption or determined ‘missing of the moment’ in a 2D space.

The image I keep seeing is of the sun glowing through clouds of dust out in the desert at burning man, crowds of people in costume or naked swarming around, not any one person is the focus, and cyclist perhaps in the foreground cycles through the frame and is truncated. Large flat matt areas of beige paint articulate the pale dust clouds and surrounding mountains of the playa.

Somehow I should try to work on this notion using the contorted falling bodies (bodies contorted not by physical distortion but by arrangement of limbs in space and perspective.

Bodies falling in and out of the perfect moment.

I need to loosen up the paint, at the moment the work feels so utterly restricted by technique. I’m a little afraid to make the jump out of the perfect static rendering and into ‘sensation’, into a passing moment. Something more Bacon-esq.

How do our eyes track the movement of another body form, our eyes constantly remake the object or person according to a reasonable projected expectation. What happens when we slow this down. Typically in contemporary painting it looks like a blur or swish. (Bacon or gavin nolan) But when you think about it, that blur just looks like something a camera would do because camera doesn’t think, camera just opens and closes its shutter regardless. It doesn’t preempt continuity or conclusion of movement. Bodies themselves don’t really blur, our eyes or camera blur the event.

What dept if any does painting owe to the blur?